Shifting Colors

The shaft mechanism of the dobby loom leads to small, geometric and repetitive patterns. In the industry, these are usually standardised. In contrast, on a hand loom the warp threads are limited in length, allowing variation in threading, material, density and colour with each set-up. This flexibility, combined with the application of digital design tools, opens up new opportunities to playfully experiment with parameters; from rearranging threads to recalculating colour rhythms. The 'Shifting Colors' series is a result of this research. Deliberate shifts and ‘misplacements’ between the repetition of colour rhythms and weaves create a new interaction between colour and structure. This leads to unexpected, larger patterns in dynamic gradients that break through the repetitive nature of traditional dobby weaving.

The jury on Shifting Colors:

An ancient weaving technique and a traditional craft is applied to contemporary textiles. The specific use of colour and the three-dimensional construction of the fabric create an exciting spatial effect. Depending on the viewpoint, the fabric comes to life and its structure makes it seem to dance in space. A great example of how relevant and contemporary a craft can be.

What does this award mean to you?

In recent years, I have mainly worked behind the scenes for various clients within the industry. This award is a cherished source of inspiration for me to further develop my own projects. At the same time, it is a unique opportunity to make my work visible to a wider audience.

How did the idea for this project come about?

I started with a small swatch in waffle texture that I had woven on the remnant of a striped linen warp. I redrew the weave so that the texture shifts diagonally across the striped warp and weft, creating a colour gradient. In my software programme, I discovered that colours can also blend into different patterns once colour and texture are no longer in sync. Because the programme allows me to visualise the interaction between the structure and colour, I can accurately calculate and control the outcome. By varying the angle and direction of the diagonal weave, there are a number of pattern options on each warp. 

What makes your project so special?

The project shows how craft and digital technology can be mutually reinforcing. The dobby loom with a shaft mechanism offers limited pattern possibilities but I use digital design tools to explore new possibilities within those limits. Besides, for me, the hand loom is not only a production tool, but also an essential research and design tool. The slow, manual process provides space for observation and reflection, while the software provides a thinking tool for understanding the logic of weaving and building on existing principles. Combining the craft and digital process produces results that were previously out of reach.

Do you have any further plans for this project?

The great thing about this project is that it offers me endlessly variations in terms of colour, pattern and scale. I am currently working on a series of smaller designs for the wall, while the larger works are custom woven. I hope to incorporate these textiles into some inspiring interior design projects soon.